The Art of Tang Sancai: A Journey Through Its Creation

The Art of Tang Sancai: A Journey Through Its Creation

Introduction and Historical Context

Tang Sancai, often translated as "Tang Tri-Color" glazed ceramics, is a celebrated form of Chinese lead-glazed earthenware that embodies the cultural and artistic zenith of the Tang Dynasty . Despite its name, "three-color" does not denote a limitation; rather, it signifies the **vibrant and multi-hued effect** achieved, frequently featuring yellow, green, and white as dominant tones, alongside brown, blue, and purple .

This artistry thrived particularly during the reign of Emperor Xuanzong (713-756 AD), a peak period known for its high output and exquisite quality . Initially developed to produce burial objects, Tang Sancai items were placed in tombs to serve the deceased in the afterlife, reflecting the prevalent practice of lavish burials among the nobility . Common forms included spirited horses, resilient camels, detailed figurines of court officials, musicians, and exotic foreigners, offering a vivid snapshot of Tang society .

Raw Materials and Body Preparation

The creation of Tang Sancai began with the careful selection and preparation of raw materials.

- The Clay Body: Artisans typically used white clay rich in kaolin, though some pieces from certain kilns utilized reddish clay . This choice of clay formed the foundation of the object.
- Purification Process: The raw clay underwent a meticulous purification process. It was selected, pounded, washed, and settled to remove impurities . The purified clay was then dried to achieve the right consistency for shaping.
- Shaping the Form: The processed clay was shaped into the desired form using **molds** or hand-forming techniques . For figures, front and back halves were often cast separately in molds and then joined together, with finer details sometimes carved by hand after assembly .

The Two-Step Firing Process

A defining characteristic of Tang Sancai production was the two-step firing method, which involved an initial "bisque firing" followed by a lower-temperature "glaze firing" .

Bisque Firing (The First Firing)
The shaped and dried clay objects, known as "greenware," were first fired in a kiln. This initial firing, called the bisque firing, occurred at a high temperature ranging from 1000°C to 1100°C . This process transformed the fragile clay into a durable, porous ceramic body called "bisque," which was sturdy enough to handle during the subsequent glazing stage.

Glazing
After the bisque firing and subsequent cooling, the artisans applied the iconic colored glazes.

- Glaze Composition: The glazes were primarily lead-silicate-based . Lead acted as a flux, lowering the melting temperature of the glaze .
- Creating Color: Different metal oxides were added to the lead-based glaze to act as colorants :
    - Iron (Fe) produced various shades of yellow and brown .
    - Copper (Cu) yielded green .
    - Cobalt (Co), a significant innovation, was used to create the prized blue color, which appeared slightly later in the period .
- Application Technique: Glazes were applied to the bisque-fired body by brushing, dripping, or pouring . The artisans skillfully applied different colors to create patterns.

Glaze Firing (The Second Firing)
The glazed pieces were then fired for a second time in a kiln at a lower temperature, between 850°C and 950°C . During this firing, the lead-based glaze melted into a glassy, translucent layer.

- The "Kiln-Flow" Effect: A quintessential feature of Tang Sancai resulted from this step. The low-viscosity lead glaze  became highly fluid in the kiln . The different colored glazes would intermingle, run, and blend naturally as they melted . This created beautiful, unpredictable, and seamless transitions between colors, a effect highly valued in this art form. Because of this natural flow, **no two Tang Sancai pieces are entirely identical** .

Final Touches and Artistic Features

For some figures, particularly those depicting humans, a final step called "Kaillian" or "face-opening" was performed after the glaze firing . The faces of these figures were often left unglazed. After firing, artisans would paint the eyebrows, lips, and hair directly onto the porous bisque body, adding lifelike details and expressions .

The art of Tang Sancai is admired for several key characteristics:
--Vibrant and Serendipitous Glazes: The flowing,blended glazes are its most distinctive signature .
--Robust and Dynamic Forms: The sculptures, especially of horses and camels, are known for their full, sturdy shapes that convey a sense of inner vitality and strength, reflecting the confident spirit of the Tang era . For instance, Tri-color horses often have a stocky build, with wide hips and necks, and are captured in moments of quiet alertness .

In conclusion, the manufacturing of Tang Sancai was a complex and masterful process. From the careful preparation of materials to the ingenious two-firing technique that harnessed the fluidity of lead-based glazes, Tang potters created an art form that continues to be celebrated as a brilliant gem among ancient Chinese ceramics. In 2008, the Tang Sancai firing technique was officially listed as part of China's National Intangible Cultural Heritage , cementing its importance in the nation's cultural and artistic history.

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